Floodwatch: The inclusion of a Pete Rock-produced cut on some of the more prominent hip hop releases in the ‘90s was often the highlight of the record, and usually tended to trigger a response something along the lines of, “Why couldn’t the entire album be like this?” Following the split with partner CL Smooth in the middle of the decade, Rock made some questionable moves in regard to where to focus his talent – strikingly mediocre solo artists (Deda), passive MCs with no presence whatsoever (InI), and talentless thugs (YG’z) – then would contribute only a track or two to more reputable artists’ records. It’s clearly not my place to judge the man’s artistic intentions back then, but with this sort of pattern, frustration was inevitable among many listeners and fans. So in the same spirit of that rumored full-length Primo/Nas collaboration that heads still dream about, From Da Bricks‘ Dan Love and I will indulge ourselves in a spell of wishful thinking in this installment of the P.R.A.S. (Pete Rock Appreciation Society), presenting ten MCs whose careers could have been drastically changed by an album manned entirely by the Chocolate Boy Wonder, with the year of preference for the release date.

Dan Love: My problem in approaching this particular task is that I’m so manically obsessed with all things Soul Brother that picking just five dream match-ups is almost impossible. Like Premier, Pete Rock has the uncanny ability to make even the weakest of MCs sound good, but I’m attempting to reign myself in here and select those that I genuinely feel could have carried the weight of a full-length collaboration at some stage in their career. The process hasn’t been easy, and the sense of rousing excitement as collaborations started to take shape in my mind was rapidly cut short by the sinking realization that these ideas will forever dwell in the realms of fantasy. Man, I wonder why I put myself through these things sometimes…

AZ Year: 1995

FW: As the only MC to guest on Illmatic (1994), Brooklyn’s AZ had a considerable amount of weight on his shoulders to deliver a solid first album. Doe or Die (1995) certainly didn’t disappoint (it has aged remarkably well over the years), but it was hardly surprising that Rock produced arguably the two best tracks on the record: the gorgeous, laid-back “Gimme Yours” and AZ’s statement of intent “Rather Unique.” With respect to L.E.S., Buckwild, and DR Period, who all contributed fine productions to the album, AZ’s distinctly high-pitched flow and Mafioso fantasies were given an extra breath of life by the colors in Rock’s stumbling drums and keys. Had Rock taken him under his wing and helmed the entirety of Doe or Die – well, the possibilities would certainly be worth pondering for years.

“Rather Unique” – AZ 4:49 (Doe or Die, EMI 1995)

Das EFX Year: 1993

DL: Although there is never going to be any doubting the lyrical impact that Drayz & Skoob had on the hip hop scene at the beginning of the ‘90s, I think it’s questionable to state that they ever managed to put together a truly classic album (see Flood’s assessment of the topic in our previous Pete Rock collaboration post). With Dead Serious (1992), the onus was clearly on the Brooklyn duo’s lyrical prowess, and as such the beats were perhaps somewhat of an afterthought, basic yet effective platforms to display a new and exciting way of approaching the mic.

However, my suggestion for a little Pete Rock intervention doesn’t come at this stage, but rather a year or so later in replacement of their Straight Up Sewaside (1993) LP. Given that their lyrical originality had now been subsumed by a plethora of other artists who had ‘borrowed’ from their style, the crew needed some production of true quality to set themselves apart, and yet the beats to be found on their sophomore effort fall distinctly into the realms of mediocrity for me. The “Jussumen” remix proves how fantastic the pair sound over a denser and more organic sound, and had it been the blueprint for the always-difficult follow-up album, who knows what the results could have been. Don’t forget to take into account that Pete was firing on all cylinders in ‘92/’93, churning out remixes that still stand up as some of the greatest ever committed to wax, and the combination of his work during this period with the playful lyrical gymnastics of Drayz and Skoob could have been awe-inspiring.

“Jussumen (Pete Rock Remix)” – Das EFX 4:45 (Mic Checka 12″, EastWest 1992)

Freddie Foxxx Year: 1998

DL: Plagued by label strife with his sophomore release Crazy Like A Foxxx, Freddie Foxxx missed out on the opportunity for a full-length mid-90s drop, forcing him to maintain his rep through guest verses on other’s work. This is a real shame, as this particular period of time in the genre’s development would have offered up the perfect backdrops for his ferocious and unforgiving style of rhyme. Glimpses of what this collaboration could have promised can be found on the Industry Shakedown (2000) LP under the Bumpy Knuckles guise, where Rock contributed no less than three beats, each of which easily held its own amongst an all-star production line-up that included Premier, Diamond and Alchemist. “Bumpy Knuckles Baby” is my preferred cut of the three, with tightly tuned snares and jangling keys providing a well-judged combination of grit and melody that suits Foxxx to a tea. For Freddie’s sake I would have liked to have placed this a little earlier in the decade, but in terms of a collaboration with Pete Rock, 1998 would seem to be the perfect moment for these two giants to work together, with The Chocolate Boy Wonder already incorporating a harder-edged angle to his smoother, soul-entrenched aesthetic of the early ‘90s (think “Tru Master” or “Tha Game” from the Soul Survivor [1998] LP). The vision here is of a street album full of Foxxx’s inimitable swagger counterbalanced by Pete Rock’s more soulful production tendencies: sounds good doesn’t it?

“Bumpy Knuckles Baby” – Freddie Foxxx 4:03 (Industry Shakedown, KJAC 2000)

Inspectah Deck Year: 1998

FW: Here’s how it should have played out ten years ago: coming off the success of Wu-Tang Forever (1997) – on which he contributed the finest verses of his career, reigning supreme on every track he blessed – the Rebel INS grows impatient with RZA’s new keyboard-based approach to beatmaking and Bobby Digital (1998) distractions. Dissatisfied with the scattershot RZA tracks and the fruits of the Wu-satellite producers that would comprise Uncontrolled Substance (1999), Deck offers Pete Rock the opportunity to produce the record in the same template as “Trouble Man,” his lone contribution to the album. While Wu diehards are sent into an uproar over the absence of the Wu abbot, the resulting full-length is nonetheless a smashing success, as Deck’s signature metaphors and endless alliteration are a perfect match for Rock’s rhythmic soundscapes. On “Trouble Man,” note how the Soul Brother offers a fresh perspective on Isaac Hayes’ “Joy” riff, slicing it up into syncopated microfragments, then layering the chalky piano from Curtis Mayfield’s “Give Me Your Love” atop for the chorus, which also appropriates Sade’s “Paradise.”

“Trouble Man” – Inspectah Deck 5:05 (Uncontrolled Substance, Loud 1999)

Jeru the Damaja Year: 1997

DL: Whatever situation caused the rift between Primo and one of Brooklyn’s finest ever MCs, there’s no doubt that Jeru’s career suffered without the weight of a top level producer behind him. Although Heroz4Hire (1999) was a decent enough record with some standouts, imagine how much better it could have been with a master behind the boards. Envisage the scene: with Premier cutting ties with Jeru, in steps The Chocolate Boy Wonder to pick up the pieces and fill the void to swiftly push out a third album to follow Wrath of the Math (1996). Not only could it have been one of the greatest three album runs by any single artist in the genre, I’m confident that the results would have been truly slammin’ in their own right.

Having never worked together on an album, the only evidence we have for this particular scenario’s success is the remix of “You Can’t Stop The Prophet” that Rock blessed Jeru with earlier in his career. Despite the difficultly of removing yourself from Primo’s original mix, there’s no denying the coherence of Rock’s production and Jeru’s vocals, and a whole album where the two worked in close conjunction would have been truly captivating.

“You Can’t Stop The Prophet (Pete Rock Remix)” – Jeru the Damaja 5:03 (You Can’t Stop the Prophet 12″, Payday 1995)

K-Solo Year: 1994

FW: Despite a gimmickry penchant for spelling out his rhymes, K-Solo was one of the early ‘90s’ most underrated MCs and a bit of an anomaly in EPMD’s Hit Squad. His rapid-fire cadence and seemingly infinite arsenal of battle rhymes contrasted sharply with the rugged blunt haze of Redman and the faddish wordplay of Das EFX. When the crew dispersed in early ’93 following the split between Erick and Parrish, K-Solo headed out West to affiliate himself with Dre’s Death Row Records, working behind the scenes and nurturing artists like Canibus. My change to the course of history? Solo would have remained in New York and hooked up with Pete Rock (who provided the MC with the beat for his last single “Letterman”) and turned out a universally-acclaimed classic third record, making K-Solo a household name. The harder-edged productions on The Main Ingredient (1994) (“Worldwide,” “I Get Physical”) and Rock’s remix work at the time would have been an ideal foil for Solo’s devastating verbal attacks.

“Letterman” – K-Solo 3:20 (Time’s Up, Atlantic 1992)

O.C. Year: 2000

DL: With one classic album under his belt and a sophomore effort that neatly averted the dreaded slump, Omar Credle seemed like he might just be one of the most consistent players in the mid to late ‘90s rap game. Unfortunately, the spark was gone by 2001’s Bon Appetit, and despite a highly credible production roster the album is one best forgotten.

Instead, let’s get Pete on the boards. In the run-up to 2000 Mount Vernon’s finest would have been putting together beats for the yet to drop instrumental tour de force Petestrumentals (2001), a release that categorically proved that he still had skills in abundance come the turn of the millennium. Paired up with O.C.’s consistent lyrical finesse, the results could have been jaw-dropping. The fantastic ‘Respect Mine’ from Soul Survivor gives us a flavour of how the combination may have sounded, with Rock forging an infectious, hypnotic beat that is perfectly balanced by O.C.’s tone and cadence. The thought of this one gives me goosebumps…

“Respect Mine” – Pete Rock ft. O.C. 4:06 (Soul Survivor, Loud 1998)

Rakim Year: 1994

FW: His skills on a microphone are indisputable. He has contributed more quotable lyrics and verses to the hip hop vernacular than arguably any other MC. His singles, billed with partner Eric B., are timeless. Yet what many overlook is the fact that the god Rakim never dropped a solid, front-to-back full-length banger in an era (’88 – ’92) when it seemed like a classic was hitting the streets every month. Taking a note from the jazzier, Soul-inflected productions on Don’t Sweat the Technique (1992), Rakim could have connected with Rock to oversee the musical fodder for his next project after splitting with Eric B. Think of the possibilities: Ra’s breathy, dry baritone would sound heavenly over one of Rock’s sleigh bell- and horn-laced concoctions, with tempos rarely dipping below the 110 bpm range – except for the two “for the ladies” tracks, of course, in the vein of “Lots of Lovin’” or “Mahogany.” The two wouldn’t cross paths until Rakim’s ‘comeback’ record of sorts, the generally well-received The 18th Letter (1997), of which Rock contributed two outstanding cuts among legends like Premier and Clark Kent. Ah, one can only dream.

“When I’m Flowin’” – Rakim 5:04 (The 18th Letter, Universal 1997)

Sadat X Year: 1996

FW: Sadat X’s spotty solo career has been troubled by a myriad of issues, chief among them the fact that, Diamond and Buckwild excluded, the Bronx MC has rarely come across a producer who is capable of complementing his irregularly-pitched flow and unique delivery. Naturally, Pete Rock is a third exception, and for proof look no further than “Escape from New York” on Sadat’s first solo venture Wild Cowboys (1996). The elegant piano and vibraphone loop is contrasted by a slamming drum pattern, with Sadat (and guest Deda) sounding more than thrilled to wreck shop over it. Imagine an entire album like this, with the MC and various guests – Puba would have to appear on a track or three to trade lines – committing this kind of gold to analog tape, with Rock spitting an occasional sixteen here and there and making an appearance on every chorus. The record would have a refreshingly laid-back, Sunday-afternoon-in-the-cipher-type vibe that would have been a diamond in the rough among the Bad Boy-bullshit that was polluting the airwaves in ’96.

“Escape from New York” – Sadat X feat. Deda 4:09 (Wild Cowboys, Loud 1996)

Sticky Fingaz Year: 1997

DL: Of all five selections that I offer to you here, this is my wildcard. Although the thought of an entire album with the Onyx frontman and our boy Pete Rock is perhaps stretching the concept a little too far, there’s definitely something in this collaboration that could have worked well. The pair have crossed paths on a very limited number of occasions, but in the two instances that I know of there is a surprising coherence between the gruff delivery of everybody’s favourite kleptomaniac and Rock’s signature production style. This white label remix of “Shout” clearly demonstrates this, with Rock’s more laid back overhaul of the original keeping the overtly hardcore nature of Sticky and company in check. “Strange Fruit,” taken from the Soul Survivor LP, also provides a flash of what could have been and indicates the variation that could have been offered up by an album together, the beat’s darker, more sinister vibe working well with Sticky’s snarling sixteen bars. Granted, a full album together would have needed some interesting guest spots to avoid a sense of plodding monotony, but it’s interesting to ponder what could have been had Rock slipped out of his funk jacket for a minute and gotten seriously grimy.

“Shout (Pete Rock Remix)” – Onyx 3:47 (White Label, 199?)

“Strange Fruit” – Pete Rock ft. Tragedy Khadafi, Cappadonna & Sticky Fingaz 4:42 (Soul Survivor, Loud 1998)

For this installment of the latest in new releases, I’ve enlisted the help of close friend and fellow music commiserator Nate Dubbz, who has finally acknowledged my incessant requests to contribute something to the site. The opinions expressed herein are not those of Floodwatchmusic.com, nor any of its affiliates – ah, who am I kidding? I endorse everything he says here.

Perhaps I am a genius, or an asshole hack, or even an embittered going-nowhere-bass guitar-lifer. Most likely the latter, and while i do sometimes like sugared melody and varying degrees of predictability, Safe as Houses is as conservative as Millard Fillmore (by the way, that’s a popular president’s name to drop right now. It offers much more ‘pres-cred’ than a Polk or James Buchanan mention. I guess it would be the rather obtuse name – do you know anyone named Millard? Hell no. Very cool. Although it should also be stated that, in hopes of seeming cool and hip, I have consciously overlooked the chance that Mr. Fillmore could have been, in fact, one of our country’s most liberal presidents. Facts are basically useless to me. Chicks dig that, and my hot bod – been working out. Was thinking about getting into some whey protein, maybe. Maybe I’ll wait till next summer. Why waste engorged muscles on the winter months? Gotta let those babies out.) Multiple guitar tracks pushing out stabs and big chords. The drummer has to love Dream Theater. The singer, Linkin Park. They are good musicians, and they know they are and they act like they are. It’s just too much. Too many fills, too much going on. I hate it.

I was in a band like this once. I thought we were really good, which we were and we new we were and we acted like we were. Of course, I ended up sleeping under an overpass off of I-75. Cincinnati, yo. But thats another story which didn’t end well. The CDs we made were nothing short of amazing and groundbreaking and why didn’t everyone else get it? Some did. Most did not. It was unfair because we were so much better than the majority of the stuff that was being signed and getting airplay. The thing was, the stuff we did sounded exactly like the stuff that was being signed and getting airplay. I thought that this was good. It was not. You have take some chances, people. Duck confit is awesome, but not if every restaurant serves it exclusively. I have no idea what that means. The band calls their album How It Feels To Be Erased (2007). Since I chose not to import their songs to my computer, they will be spared that feeling, this time.

“Minutes and Miles” – Safe as Houses 3:54 (How It Feels to Be Erased, self-released 2007)

Going against my better instincts, I put this CD my CD machine. Fingers tremble as I press play – gasp! – I didn’t know that Mark Sandman* also recorded with a mediocre rock band from Minneapolis. How can that be? This band is called Crash Anthem and their CD is called Inside a Red Room (2007). Drummer is, once again, a Mike Portnoy fan. Random lyrics from the liner notes: ‘hide my addiction’, ‘runnin on empty’, ‘lookin’ for a little vindication’, ‘product of intoxication’, ‘a time for the kill’, ‘run for your life.’ So what’s my point? I don’t know. The point is is that I have no point and neither does this music. This sucks. I would like to say that although I am typing in semi-coherent English right now, I am also screaming and a little part of me is dead after hearing this music. The badge of courage that they are wearing on their sleeve says, “I’m a frikken douche and I want everyone to know it.”

* This sentiment only relates to the first 20 seconds of the first song. Which, in my opinion, is the best thing this album has to offer.

“Typical People” – Crash Anthem 4:32 (Inside a Red Room, American Rock Band 2007)

Yes, thank you Lord. Thank you for Bristol’s Nova Robotics. (Bristol, UK not RI.) Elemental electronic landscapes with bursts and beats, which make trips in cars worthwhile. Actual instruments, like guitars, combined with un-actual instruments like drum machines and laptops have worked together to put a smile on my face and a feeling of ease, not dis-ease, in my soul. You want some comparisons? It’s like eating a mushroom cap and walking in the woods on a crisp sunny summer day. Or riding your bike downhill on a country road at dusk. Or like taking the train back to Boston from NYC at dawn on a cold winter morning, staring out the window and taking in the East Coast. Comparisons to other people that make music? Boards of Canada (as rightly stated in their bio), B. Fleischman, Dr. Nigel, and maybe a squirt of Lemon Jelly (but that could just be me, and probably is). The tunes are surprisingly short, with the longest one at 3:35; it would be interesting and exciting to hear the bad do an extended work, but I’m glad that they can make cohesive instrumental tracks in under four minutes. Bottom line: good starter from guys that I’d like to hear more from. Way to go, gentlemen.

“Delicate” – Nova Robotics 2:44 (Subterfuge EP, self-released 2007)

The following is the first of what will hopefully be a series of collaborative posts with the one and only Dan Love of From Da Bricks fame. In addition to his insightful and thought-provoking writing, Dan’s taste in hip hop mirrors mine to an almost frightening degree, so the idea of partnering up for a drop seemed as natural as breathing. Our love for all things Soul Brother has resulted in a tag team-like discussion of Pete Rock’s greatest remixes, the five of which Dan nominated and I agreed with wholeheartedly. This is something we hope to continue in the future, so be on the lookout for more official entries in our unofficial ‘Pete Rock Appreciation Society (P.R.A.S.).’ (And thanks to Dan for hosting the audio for this round.)

From Da Bricks: Whittling down my favourite Pete Rock remix productions to a mere five is a near impossible task that has caused me much turmoil over the last couple of weeks, but as I wipe the final drop of sweat from my brow, these are the constant flames that have risen from the ashes of my fortnight’s procrastination. Time for some analysis.

The first thing to note is that all five of my selections fall into a two-year timeframe, rather expectedly in between the two Pete Rock & C.L. Smooth albums. Of course, this wasn’t just a great era for our boy Pete Rock, but for hip hop music in general, so there are few surprises here, but it is indicative of the fact that this period would probably be generally regarded as the vintage years for Mount Vernon’s finest (something that Flood has already drawn attention to with his Pete Rock instrumental mix). I could roll out a list of superlatives as long as my arm here, but these are all perfect examples of his characteristic production style of the era: uptempo vibe, boomin’ drums, screeching horn tracks and a big slab of soul all working together to create warm, sumptuous and, somewhat paradoxically, gritty packages that all fans of the genre have come to worship over the last decade and a half.

Floodwatchmusic: I’d say the genesis of Pete Rock’s entire style occurred sometime around ’91 or ‘92, which rapidly came to fruition on the All Souled Out EP (1991) and the Mecca and The Soul Brother (1992) record. Soon everyone from PM Dawn to Biggie was requesting the remix treatment from him. What amazes me now, in retrospect, is how intact and advanced his production style was when he entered the game; there is a level of inherent musicality in each of his tracks that would seem to come from years of crate digging and woodshedding with the SP-1200. Rarely does one hear a Pete Rock production or remix from this era that could classify as “transitional,” or even “experimental.” There is a confident intent of purpose to his early work that is is often lacking in the output of most young producers, to say nothing of his originality and innovations.

FDB: The second thing that strikes me about these selections is that in all five cases, the songs in their original incarnations are all slammin’, and this should lead us to a fuller appreciation of Pete Rock’s remixing abilities. It is significantly simpler to take a wack song and make it better than to take an already great song and make it greater, so the fact that these are all bangin’ in the first place simply serves to highlight his production prowess. These are anthems made into even bigger anthems, and I think you would be hard pressed to find another beatmaker in the game who has managed that feat with such consistent finesse.

Das EFX – “Jussumen” (1992)

FWM: I find it hard to consider any Das EFX platter a ‘classic,’ even their debut. While Dre and Skoob revolutionized hip hop lyricism in terms of delivery and wordplay, more often than not they lacked a distinctive musical counterpart to complement their unique approaches to the mic. My chief complaint with Dead Serious (1992) is the uninspiring but serviceable production, a stock assembly of James Brown loops and Skull Snaps drums that lacks any sort of personality. Enter Pete Rock, whose remix of “Jussumen” (originally appearing as a B-side on the “Mic Checka” 12”) should’ve been the blueprint for the remainder of the album’s tracks. Pete was going apeshit with those Mountain drums back then and one can detect their presence here, buried into the fabric of the track. It’s noisier and a lot more textural than I would expect from him at the time, but it works beautifully for the duo. Favorite moment: at 0:58, when the music drops out as Dre begins his verse with a “yiggidy yes.”

“Jussumen (Pete Rock Remix)” – Das Efx 4:45 (Mic Checka 12”, EastWest 1992)

House of Pain – “Jump Around” (1992)

FDB: This remix falls much in the same vein as the “Hip Hop Hooray” remix, in that in both cases Pete Rock takes a crossover smash and makes it better. However, it shares more sonically with his work on “Shut ‘Em Down”, released in the same year and featuring similar musical elements in its composition. The opening eight bars are crafted beautifully, the warm and playful bassline providing a backdrop for the gradually building drum track that drops hard into the first verse. The upbeat tempo of the song and horns that echo in and out of the mix propel the groove forwards throughout the verse sections and the additional horns at the chorus make this song feel glorious. Whereas the ‘Shut ‘Em Down’ remix has a slightly darker quality, the ‘Jump Around’ remix is a straight up party banger whose sole purpose seems to be to get you on your feet with your hands raised skywards. It works.

“Jump Around (Pete Rock Remix)” – House of Pain 3:57 (Jump Around 12”, XL 1992)

Public Enemy – “Shut ‘Em Down” (1992)

FWM: This remix gives me chills to this day. Not to slight the Bomb Squad (who executive produced), but this reinterpretation is so much better than the original that it eclipses it entirely. What I love most about the production here is its dense, circular claustrophobia, a nebulous mass of sound that’s almost suffocating. Again, Pete uses those crushing Mountain drums as a foundation for a continuous sax line that weaves in and out of this mix, a filtered ascending bassline, and a strange vocal sample that makes an occasional appearance on the downbeat. The sheer power of this track, combined with Chuck D’s booming vocal, could move an army at full volume. And to top it off, the Soul Brother #1 spits a playful eight bars in the middle of the chaos – just because he can.

“Shut ‘Em Down (Pete Rock Remix)” – Public Enemy 4:41 (Shut ‘Em Down 12″, Def Jam 1991)

Naughty by Nature – “Hip Hop Hooray” (1993)

FDB: To my mind, Naughty by Nature should be considered the blueprint for the perfect hip hop crossover group, as they managed to successfully craft cuts that had a broad appeal whilst maintaining the gritty aesthetic favoured by true hip hop enthusiasts. “Hip Hop Hooray” could perhaps be considered the pinnacle of their achievement, its uplifting, anthemic nature certifying it as classic material. In light of this, The Chocolate Boy Wonder’s accomplishment with his reinterpretation of the song is nothing short of astonishing, as I feel it trumps even the original’s bounce and sense of grandeur. The delayed horns are of course an essential feature to this particular beat, but perhaps of greater interest for me when considering Rock’s wider discography is the use of a piano sample in this instance, an instrument that he pretty much left alone on Mecca and The Soul Brother and which only featured spasmodically on The Main Ingredient (1994). The incorporation of Rakim’s line from “Microphone Fiend” rounds the cut off perfectly, as do Pete Rock’s signature remix adlibs that let you know who’s in charge of the boards just in case you hadn’t guessed it already.

“Hip Hop Hooray (Pete Rock Remix)” – Naughty by Nature 4:30 (It’s On 12”, Tommy Boy 1993)

Jeru the Damaja – “Can’t Stop the Prophet” (1994)

FWM: I hadn’t come across this remix until recently, and after years of internalizing Premier’s original, it admittedly took some warming up to. What eventually sold me was, of all things, the snare that Pete uses here, and the way he decorates the drum track with additional hits to increase the boom-bap factor. A strong jazz flavor (which always complemented Jeru’s delivery well) is prominent as well, as Pete utilizes a descending vibraphone progression for melodic content, and in two octaves for additional variety. The minute and a half of scratching and cutting that closes the track is the sweetest kind of aural candy to these ears.

“You Can’t Stop the Prophet (Pete Rock Remix)” – Jeru the Damaja 5:03 (You Can’t Stop the Prophet 12”, Payday/ffrr 1994)